DOCSLIB.ORG

Apertures – Responsive Architectural Environments

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Apertures – Responsive Architectural Environments Apertures – Responsive Architectural Environments Herwig Baumgartner, AIA Professor, Southern California Institute of Architecture Principal and Partner, Baumgartner+Uriu Scott Uriu, AIA Professor, University of Southern California Principal and Partner, Baumgartner+Uriu INTRODUCTION Within the discipline of architecture, the discussion of fields, networks, and smooth transitions has dominated the discourse over the past 15 years. Rooted in the phil- osophical models of Gilles Deleuze,1 systems theory, and parametricism,2 this discussion has influenced many generations of architects. Parametricism promotes a relational ontology in which entities have no autonomous reality and are based on “continuous differentiation”; thus, everything is connected, and everything flows. This position of an architecture rooted in dynamism and deterritorialization is currently being challenged by a radically different approach, giving way to a contem- porary design practice working with discrete figures that cannot be entirely understood through their pristine dig- ital relations. This position is one that is obsessed with capturing qualities that would appear to be incongruous by incorporating analog features into a digital design pro- terms of their morphology and performance. They cess. The installation Apertures, designed for the SCI Arc are disruptive features to the overall building mass, Le Corbusier’s Villa Gallery, is firmly positioned within this approach. but they are able to interact with their environment, Savoye in, France Apertures are the architectural catalysts for the producing a symbiotic relationship between nature, installation design, being defined as objects within building morphologies, and material expression. Aper- a larger building object that differ from their host in tures have been an ongoing topic in our work. We are 112 2014 TxA EMERGING DESIGN + TECHNOLOGY 113 interested in challenging the notion of an architectural order to do housing, you must formulate a new approach opening as a static object by redefining the DNA of a on how to do windows. window, both in terms of its appearance and material- Daniel Libeskind’s ity, as well as its nature as an object in continuous flux, WHAT IS THE DNA OF AN APERTURE? Jewish Museum in responding to its environment through movement or Apertures – view of Berlin, Germany sound. Unique to this project is the proposal of the 1. The aperture frame smaller apertures building as an organism, challenging how architecture • A window frame that is constantly in flux can interface with its users and its environment. The boundary between the human body and architectural 2. Apertures as autonomous objects object dissolves into an immersive, interactive envi- • They are designed independently from the ronment. The project utilizes digital design and fabri- building massing and exterior surface. cation techniques together with synthetic materials • They are three-dimensional objects that are and composite construction. The final architectural inserted into the building mass and can be or- object is augmented through the integration of sen- ganized freely and independently of floor slabs. sors and a responsive algorithm to produce a sym- • They are transitional objects between inside biotic relationship between the user and the object, and outside that can be occupiable. mediated through sound. • They are directional and focused on surround- Aperture design for a ing features or follow an external logic. housing tower in Lima, HISTORY Peru On a very basic level, windows make the facade. They 3. Mega-apertures: Multidirectional aggregates determine what the house looks and feels like, while from • Mega apertures form the building mass the inside, they frame the view and bring air and light into by aggregating a family of self-similar ob- the building. Based on their exterior appearance, we can jects—“flutes”—into a larger whole. differentiate them into the categories of punched hole 4. Responsive environments windows, glass curtain walls and apertures that are ob- • Apertures are responsive to the environment jects protruding from the facade, etc. However, beyond through either motion or sound. that, windows can also elucidate an architectural idea. They can have a symbolic meaning that has nothing to 1. The aperture frame do with their performance as windows. For example, Jeff Apertures are features of the facade, just as the eyes, Kipnis3 speaks about the windows of the Jewish muse- mouth, and nose are features of the face. We are accus- um by Daniel Libeskind as being about a tragedy that tomed to seeing certain shapes and forms of window occurred in human history and how this was translated frames that we are familiar with and which communi- into architectural terms. “These windows are not about cate to us a certain imbedded logic (performative, his- light, are not about air, and they are not about views as toric, symbolic, etc). Changing the shape of the window we would normally associate it. They make the thing look, frame, even if ever so slightly, is easily conceived of as Frank Gehry’s Der let’s say, tortured, fragmented, broken.” In Corbusier’s uncanny or strange. There are two art pieces that have Neue Zollhof in Dues- manifesto “Five Points of Architecture,”4 which were most had great influence on our work on this topic: Bruce seldorf, Germany evident in his Villa Savoye, he claims the ribbon window Nauman’s Making Faces from 1968 and Tim Hawkin- as one of the key features of modern architecture—“the son’s Emoter from 2002. facade can be cut along its entire length to allow all rooms Nauman’s work deals with the deformation of fa- to be lit equally.” The ribbon window also does something cial features, which in themselves can be familiar de- else; it frames the horizon and denies you from seeing pending on the degree of distortion, while Hawkinson the sky and the ground as you otherwise would through deals with the dispositioning of parts of facial features a floor to ceiling window, turning life into a filmstrip. Our through a mechanical apparatus that reconfigures the approach poses a counterpoint to these two. mouth, eyes, and nose. Although the works of Hawkin- We were looking into building upon these two ideas, son and Nauman are related to one another, the results but simultaneously transforming them in a new ap- are dramatically different and show a clear shift from proach that deals with the aperture as a “foreign” object the familiar deforming (Nauman) to the uncanny dis- Enrique Miralles’ inserted into the surface causing the surface to rupture positioning (Hawkinson). Scottish Parliament and deform. Our interest in apertures developed while Based on that logic, we started developing a window in Scotland, United Kingdom working on a housing tower in Lima, Peru. For us the frame that is in flux and can change its shape over time, typology of the housing tower was less defined by the rather than having a static frame with a specific form. To aggregation and organization of units, but actually more be clear, this was not a performance-driven design, like defined by fenestration—the window. As the default the apertures of the Institute Du Monde Arabe in Paris morphology, the windows in housing projects tended to by Jean Nouvel. Instead, we are interested in the thresh- be ubiquitous ribbon windows. We are convinced that in old between the familiar and the uncanny that can be 114 2014 TxA EMERGING DESIGN + TECHNOLOGY 115 produced simply by changing the window frame and skylights and as sculptural objects on the roof; the of- 3. Multidirectional aggregates introducing motion or sound as a responsive system. fice development Der Neue Zollhof by Frank Gehry de- Apertures is designed using a technique of aggregating For the housing tower, the window frame was de- ploys rectangular window boxes that are inserted into a a family of discrete and self similar objects—“flutes”— Daniel Libeskind’s signed with linear extensions along the window frames curvilinear facade; and the Scottish parliament by En- into a larger whole. Rather than using a Boolean oper- Jewish Museum in Berlin, Germany that create a soft, blurred building edge on the exterior rique Miralles, which seems like a thesis on apertures as ation where objects are trimmed against one another that is constantly in flux. As a material for these compo- autonomous objects, playfully deploys apertures with and merge into a single whole, we instead extended nents, we propose using advanced silicon composites different articulation and materiality to give the project objects past one another and then trimmed them us- that combine material properties on a molecular level its unique character. Greg Lynn describes three contem- ing a set of trimming objects that were later removed. and allow for the engineering of each component to porary techniques for placing apertures into complex, This technique allowed each part to maintain its au- achieve varying flexibility without the use of mechan- curved surfaces: “Boolean cuts using multiple figures tonomy rather than merging into a single whole where ical parts. In addition, the new window frames will be or surfaces, spline offsets using the curved isoparms of the parts are no longer readable. On the interior, these coated with thin solar film that will generate electricity curve networks that define the surface for openings, and trimmed surface edges produce an ordering system for the building. facets that fold apertures into surfaces.” 5 of structural ridges that highlights the seams between There is a certain liberty implied by disengaging the objects while simultaneously connecting the different 2. Apertures as autonomous objects aperture from its host, the building. Apertures begin to apertures and converging into a single interior space Traditionally, apertures are framed openings that sit act as a spatial device rather than just a cut in the sur- with multiple vantage points. The outside does the op- Apertures – interior flat within the building enclosure as a punched-hole face or a change of material.
Load more

Recommended publications
  • The Five Orders of Architecture
    BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna.
    [Show full text]
  • Architecture from Wikipedia, the Free Encyclopedia for Other Uses, See Architecture (Disambiguation)
    Architecture From Wikipedia, the free encyclopedia For other uses, see Architecture (disambiguation).. Further information: Outline of architecture Section and elevation of f Brunelleschi''s dome of Florence Cathedral.. Architecture ((Latin architectura,, from the Greek ἀρχιτέκτων – – arkhitekton, from ἀρχι- "chief" and τέκτων "builder, carpenter, mason") is both the process and product of planning,, designing and construction.. Architectural works, in the material form of buildings,, are often perceived as cultural symbols and as works of art.. Historical civilizations are often identified with their surviving architectural achievements. "Architecture" can mean: A general term to describe buildings and other physical structures. The art and science of designing and erecting buildings and other physical structures. The style and method of design and construction of buildings and other physical structures. The practice of the architect,, where architecture means the offering or rendering of professional services in connection with the design and construction of buildings, or built environments..[1] The design activity of the architect, from the macro- level ((urban design,, landscape architecture)) to the micro-level (construction details and furniture). The term "architecture" has been adopted to describe the activity of designing any kind of system, and is commonly used in describing information technology.. In relation to buildings, architecture has to do with the planning, designing and constructing form, space and ambience that
    [Show full text]
  • List of Publications in Society's Library
    OXFORD ARCHITECTURAL AND HISTORICAL SOCIETY LIBRARY RICHMOND ROOM, ASHMOLEAN MUSEUM Classified Shelf-List (Brought up-to-date by Tony Hawkins 1992-93) Note (2010): The collection is now stored in the Sackler Library CLASSIFICATION SCHEME A Architecture A1 General A2 Domestic A3 Military A4 Town Planning A5 Architects, biographies & memoirs A6 Periodicals B Gothic architecture B1 Theory B2 Handbooks B3 Renaissance architecture B4 Church restoration B5 Symbolism: crosses &c. C Continental and foreign architecture C1 General C2 France, Switzerland C3 Germany, Scandinavia C4 Italy, Greece C5 Asia D Church architecture: special features D1 General D2 Glass D3 Memorials, tombs D4 Brasses and incised slabs D5 Woodwork: roofs, screens &c. D6 Mural paintings D7 Miscellaneous fittings D8 Bells E Ecclesiology E1 Churches - England, by county E2 Churches - Scotland, Wales E3 Cathedrals, abbeys &c. F Oxford, county F1 Gazetteers, directories, maps &c. F2 Topography, general F3 Topography, special areas F4 Special subjects F5 Oxford diocese and churches, incl RC and non-conformist F6 Individual parishes, alphabetically G Oxford, city and university G1 Guidebooks G2 Oxford city, official publications, records G3 Industry, commerce G4 Education and social sciences G5 Town planning G6 Exhibitions, pageants &c H Oxford, history, descriptions & memoirs H1 Architecture, incl. church guides H2 General history and memoirs H3 Memoirs, academic J Oxford university J1 History J2 University departments & societies J3 Degree ceremonies J4 University institutions
    [Show full text]
  • Architecture
    Architecture For the professional, see Architect. For other uses, see civilizations are often identified with their surviving ar- Architecture (disambiguation). chitectural achievements. Architecture (Latin architectura, after the Greek “Architecture” can mean: • A general term to describe buildings and other phys- ical structures.[3] • The art and science of designing buildings and (some) nonbuilding structures.[3] • The style of design and method of construction of buildings and other physical structures.[3] • The knowledge of art, science & technology and humanity.[3] Brunelleschi, in the building of the dome of Florence Cathedral • The practice of the architect, where architecture in the early 15th-century, not only transformed the building and means offering or rendering professional services [1][2] the city, but also the role and status of the architect. in connection with the design and construction of buildings, or built environments.[4] • The design activity of the architect,[3] from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furni- ture). Architecture has to do with planning, designing and con- structing form, space and ambience to reflect functional, technical, social, environmental and aesthetic considera- tions. It requires the creative manipulation and coordina- tion of materials and technology, and of light and shadow. Often, conflicting requirements must be resolved. The practise of Architecture also encompasses the pragmatic aspects of realizing buildings and structures, including scheduling, cost estimation and construction administra- tion. Documentation produced by architects, typically drawings, plans and technical specifications, defines the structure and/or behavior of a building or other kind of system that is to be or has been constructed.
    [Show full text]
  • Meraz Avila, Fidel Alejandro (2009) Architecture and Temporality In
    ARCHITECTURE AND TEMPORALITY IN CONSERVATION PHILOSOPHY: CESARE BRANDI Fidel Alejandro Meraz Avila, architect, MArch Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy November 2008 Abstract In conservation of culturally significant architecture (CSA), awareness about problems of temporality and their consideration has been frequently approached with different perspectives. However, these partial explanations have usually focused on accounts of temporality that mainly approach the past and the present, and more rarely the future, but do not consider the complete spectrum of human temporality, nor explicit ontological bases. In this thesis, architecture emerges as a manifold being in constant becoming that compels human being to exercise permanently memory and assimilation. The main contribution is the proposal of an existential approach towards conservation as an intentionality grounded on the more fundamental attitudes of cultivation and care. Through epistemological and phenomenological analysis of Brandi’s thought – focusing on his paradigmatic Theory of Restoration – his attitude comes forth as a particular form of conservation intentionality limited to architecture as a work of art. Following mainly Ingarden and Ricoeur, the results of ontological and phenomenological investigations about architecture and temporality demonstrate conservation in its modern form as a limited temporal intentionality. After these theoretical pre-conditions, the existential approach applied on the previously deduced dimensions of the space and time of Dasein – in Heidegger’s terms – proved the grounding of conservation on an existential interpretation of the more fundamental notions of cultivation and care. Making an analogy with Ingarden’s notion of the architectural work of art, CSA is ontologically analysed emerging to consciousness as a manifold 1 being that can be concretized in different ways according with the attitude of the receptor.
    [Show full text]
  • On the Changing Role of Mathematics in Architecture
    FROM NUMBERS TO DIGITS: ON THE CHANGING ROLE OF MATHEMATICS IN ARCHITECTURE A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY BETÜL KOÇ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE JUNE 2008 Approval of the thesis: FROM NUMBERS TO DIGITS: ON THE CHANGING ROLE OF MATHEMATICS IN ARCHITECTURE submitted by BETÜL KOÇ in partial fulfillment of the requirements for the degree of Master of Architecture in Department of Architecture, Middle East Technical University by, Prof. Dr. Canan Özgen Dean, Graduate School of Natural and Applied Sciences __________________ Assoc. Prof. Dr. Güven Arif Sargın Head of Department, Architecture __________________ Assoc. Prof. Dr. Zeynep Mennan Supervisor, Department of Architecture, METU __________________ Examining Committee Members Assoc. Prof. Dr. Selahattin Önür Department of Architecture, METU ___________________ Assoc. Prof. Dr. Zeynep Mennan Department of Architecture, METU ___________________ Inst. Dr. Namık Erkal Department of Architecture, METU ___________________ Inst. Dr. Haluk Zelef Department of Architecture, METU ___________________ Assoc. Prof. Dr. Arda İnceo ğlu Department of Architecture, İTU ___________________ Date: June 20, 2008 ii I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Betül Koç iii ABSTRACT FROM NUMBERS TO DIGITS: ON THE CHANGING ROLE OF MATHEMATICS IN ARCHITECTURE Koç, Betül M. Arch., Department of Architecture Supervisor: Assoc. Prof. Dr.
    [Show full text]
  • Games-Based Learning in Computer Science, Software Engineering And
    Games-based Learning in Computer within software engineering and, in Science, Software Engineering and particular, attempted to identify what Information Systems Education empirical evidence exists within this Thomas Hainey literature to support this approach. [email protected] Connolly, Stansfield and Hainey (2009) School of Computing then examined the literature in 2008 to University of the West of Scotland produce an evaluation framework for GBL and discovered additional games. Abstract In this paper the definition of a game will be briefly discussed and a diagram Computer games have captured the will be presented to illiustrate the interest of educationalists as they play an relationship between games, simulations, important role in the leisure activities of and games-based learning. We then children and adults. A longitudinal provide a detailed description of seven study into game playing habits and games found in the two literature motivations at university level has searches and will briefly critique the shown that UWS students spend an associated empirical evidence. We will average of 7.6 hours a week playing conclude with a discussion on empirical computer games. Computer games are evidence in the field of GBL. considered to be highly engaging and incorporate extremely compelling 2. Defining a game features. There is however a dearth of empirical evidence supporting the Providing a universally accepted approach. In this paper seven relatively definition of ‘game’ is a difficult mature computer games are described to process. There is no consensus on what teach computer science, software a ‘game’ is in the academic literature as engineering and IS concepts.
    [Show full text]
  • Roaming Point Perspective: a Dynamic Interpretation of the Visual Refinements of the Greek Doric Temple
    Michael C. Duddy Research MDA Designgroup Roaming Point Perspective: A Dynamic International 19 Union Square West Interpretation of the Visual Refinements New York, NY 10003 USA of the Greek Doric Temple MDuddy@mda- designgroup.com Abstract. Writers, artists, and mathematicians since Vitruvius have attributed the use of the visual refinements as a means by Keywords: Doric temple, Greek which the Greek builders optically corrected the form of the architecture, Parthenon, optics, Doric temple. This study proposes an interpretation in which perspective, Euclidean the visual refinements of the Parthenon are considered from a geometry, non-Euclidean non-stationary, or “roaming”, point of view. The mathematics of geometry, projective geometry, this type of visual space reveals a dynamic zone in which objects hyperbolic visual space visually increase and decrease simultaneously, a behavior consistent with conditions addressed by the visual refinements of the Parthenon. The Greeks created a plastic system by forcibly affecting our senses: ….They employed the most delicate distortions, applying to their contours an impeccable adjustment to the laws of optics. Le Corbusier, Towards a New Architecture Introduction In the outline of his program for the classical orders in the Ordonnance for the Five Kinds of Columns after the Method of the Ancients, Claude Perrault attacks what he claims are the “abuses” of the orders, specifically the use of optical corrections or visual refinements. From the earliest Doric temples of ancient Greece, angular and curvilinear irregularities could be observed in the building forms that included the tapering of the columns, curvatures in the podiums and entablatures, inclinations of columns and friezes, and variations in column diameters and spacings.
    [Show full text]
  • Student Handbook 2011-2012 Contents
    ATHENS SCHOOL OF FINE ARTS FINE OF SCHOOL ATHENS HISTORY AND ART OF THEORY DEPARTMENT STUDENT HANDBOOK 2011-2012 ATHENS SCHOOL OF FINE ARTS STUDENT HANDBOOK 2011-2012 DEPARTMENT OF ART THEORY AND HISTORY ISBN 978–960–6842–15–3 1. THE ATHENS SCHOOL OF FINE ARTS 1. THE ATHENS SCHOOL OF FINE ARTS ATHENS SCHOOL OF FINE ARTS DEPARTMENT OF ART THEORY AND HISTORY STUDENT HANDBOOK 2011-2012 CONTENTS RECTOR’S GREETING 11 PART ONE THE ATHENS SCHOOL OF FINE ARTS A. HISTORICAL OVERVIEW 14 B. HEADQUARTERS – BUILDINGS – ANNEXES 18 C. ADMINISTRATION 24 D. ADMINISTRATION SERVICES 24 E. RESEARCH FUNDS SPECIAL ACCOUNT 25 F. LIBRARY 25 The Student Handbook for the Academic Year 2011-2012 was produced under G. CAREERS OFFICE 29 the supervision of the General Assembly of the Department of Art Theory H. EMPLOYMENT & CAREER STRUCTURE (ECS) 30 and History and the Head of the Department, Professor George Xiropaidis. I. NETWORK SERVICES 30 The “Historical Overview” was written by Associate Professor Nikos J. THE ASFA HISTORICAL ART COLLECTION – THE ASFA GALLERY 30 Daskalothanassis. Updating (based on the 2007-2008 Student Prospectus of the Department PART TWO of Theoretical Art Studies), editing and translation: Fay Zika, Assistant THE DEPARTMENT OF ART THEORY AND HISTORY Professor, and Maria Chatzi, External Associate (in the context of the co- A. FOUNDATION AND MISSION OF THE DEPARTMENT 34 funded project “Quality Assurance Unit-ASFA” which is integrated in the B. DEGREES AND DURATION OF STUDY 35 Operational Programme “Education and Lifelong Learning” 2007-2013). C. DEPARTMENT ADMINISTRATION 35 Photographs: Manolis Baboussis, Titika Salla, Dimitra Gounari, Sylia 1.
    [Show full text]
  • Architectural History of Western Civilization
    RAIC SYLLABUS Thesis Submission ARCHITECTURAL HISTORY OF WESTERN CIVILIZATION CURRICULUM DEVELOPMENT SECTION 1.0 Kurt Dietrich SK85ON23 Architectural Curriculum Kurt Dietrich Course Outline HISTORY SK85ON23 INDEX: Page: I. Abstract 2 II. Preamble 2 III. Component Initiative 4 IV. Component Course Materials 4 V. Instructional Strategy 9 VI. Student Activities 10 VII. Assessment Method 10 VIII. Common Essential Learnings 11 IX. Environment 12 X. Materials and Resources Required 12 XI. Summary of Architectural Periods 13 XII. Course Text Outline • The Ancient World 16 • Egyptian Architecture 20 • Greek Architecture 26 • Roman Architecture 36 • Early Christian Architecture 45 • Byzantine Architecture 51 • Romanesque Architecture 56 • Gothic Architecture 66 • Renaissance Architecture 82 • Baroque Architecture 96 • The Eighteenth Century 112 • The Nineteenth Century 124 • The Twentieth Century 148 XIII. New Text Definitions 193 XIV. Appendix 'A': List of Illustrations 194 XV. Appendix 'B': Bibliography 201 - 1 - Architectural Curriculum Kurt Dietrich Course Outline HISTORY SK85ON23 ABSTRACT: The study of architectural history provides an understanding of the cultural forces that shaped architectural development. The history of architecture chronicles the formation of the architectural profession through the experience of guilds and formal education. The philosophies and design thrusts of relative periods and practitioners are reviewed as the profession changes through time. PREAMBLE: This section provides an overview of the history of architecture in Western Civilization. It includes an outline of architecture covering the major periods of development. The section provides opportunities for discussion relative to the influence of society and context on architectural design. Figure 1: Chateaux de Chenonceaux, France Historical study is a process of selection and interpretation.
    [Show full text]
  • 2011-12 Hamilton College Catalogue
    2011-12 Hamilton College Catalogue Courses of Instruction Departments and Programs Page 1 of 193 Updated Jul. 31, 2011 Departments and Programs Africana Studies American Studies Anthropology Art Art History Asian Studies Biochemistry/Molecular Biology Biology Chemical Physics Chemistry Cinema and New Media Studies Classics College Courses and Seminars Communication Comparative Literature Computer Science Critical Languages Dance and Movement Studies Digital Arts East Asian Languages and Literatures Economics Education Studies English and Creative Writing English for Speakers of Other Languages Environmental Studies Foreign Languages French Geoarchaeology Geosciences German Studies Government Hispanic Studies History Jurisprudence, Law, and Justice Studies Latin American Studies Mathematics Medieval and Renaissance Studies Music Neuroscience Oral Communication Philosophy Physical Education Physics Psychology Public Policy Religious Studies Russian Studies Sociology Theatre Women's Studies Writing Courses of Instruction Page 2 of 193 Updated Jul. 31, 2011 Courses of Instruction For each course, the numbering indicates its general level and the term in which it is offered. Courses numbered in the 100s, and some in the 200s, are introductory in material and/or approach. Generally courses numbered in the 200s and 300s are intermediate and advanced in approach. Courses numbered in the 400s and 500s are most advanced. Although courses are normally limited to 40 students, some courses have lower enrollment limits due to space constraints (e.g., in laboratories or studios) or to specific pedagogical needs (e.g., special projects, small-group discussions, additional writing assignments). For example, writing-intensive courses are normally limited to 20 students, and seminars are normally limited to 12. Enrollment limits mean that a student might not always be able to take a course that he or she wishes to take.
    [Show full text]
  • Architecture February 4, 2012
    Outline of Architecture February 4, 2012 Contents ARTS>Art>Architecture .................................................................................................................................................... 1 ARTS>Art>Architecture>Building Parts ...................................................................................................................... 1 ARTS>Art>Architecture>Building Parts>Arch ....................................................................................................... 2 ARTS>Art>Architecture>Building Parts>Basement ............................................................................................... 2 ARTS>Art>Architecture>Building Parts>Beam...................................................................................................... 2 ARTS>Art>Architecture>Building Parts>Column .................................................................................................. 3 ARTS>Art>Architecture>Building Parts>Door ....................................................................................................... 4 ARTS>Art>Architecture>Building Parts>Floor ...................................................................................................... 5 ARTS>Art>Architecture>Building Parts>Furnace .................................................................................................. 5 ARTS>Art>Architecture>Building Parts>Greek Temple ........................................................................................ 5 ARTS>Art>Architecture>Building
    [Show full text]